A Quote by William T. Wiley
I think being an artist, or just being creative, or imaginative, or aware, where I think everybody starts out, and by about the age of 10, that's been pretty effectively whipped out by education.
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I always say I want creative control. A lot of people don't think about that. And that's what every artist should think of - being creative and not just a puppet.
If I waited until I felt creative, I would never have had a career. I long ago learned that a day that starts out badly, when nothing comes out on the page or comes out wrong, can suddenly turn into a good day a few hours later, when suddenly everything starts to click. The brain can be cajoled into being creative.
I think there's a level at which you think that there's a reason that you're being singled out, that you're being chosen. As a kid, I was always mistaken for a girl. Before you reach that age where your sexuality starts to display itself, kids can look very androgynous, and I guess I leaned more toward the feminine. All those things were very hard, growing up, because you're trying to create an identity, and you're feeling shameful about the one that you're making. So, I identified with it a lot.
I get more out of life just being myself, by just being a human being. Not by being a rock star, not by being whatever. Sometimes I act like a jerk, but I think people respect me for being myself. That's the ultimate thing about the Smashing Pumpkins.
Fame is not just about being able to get out of a limo in Leicester Square, it's about trying to get into your house when there are eight photographers outside. When you think about being famous, you don't think about all that stuff. You think about the glamour.
Making art, being creative, is risky, especially for actors, but everybody on the set is being creative. You're putting yourself out there with ideas, and to have your brain be free of stress so that it can actually do its best work, it feels like you want to have a real sense of intimacy and connection and trust with everybody.
I think what maybe starts out when you're younger as being something about slightly showing off or being given applause because people think that you're good at something, as you get older it becomes less about that and it becomes more about the fascination of why people do the things that they do.
It's impossible to feel the creative juices flowing if you're always worried about the end result. I think really, really good work comes out of people being quite open, not stressed, really exploring, trying to be imaginative, without worrying too much about the end result.
I think, as an artist, part of your job is being aware of what's going on around you and not selling out and not following the trend, which I'm totally against.
Looking out over the port of Dover, with the endless steam of boats coming in and out, every British citizen is reminded that belonging here has never been about blood or genes. It's simply about being at home on this discrete island and being aware of the privileges and responsibilities that brings.
Because Ivy [Wilkes] is just starting out as an artist, I wanted to focus on [Georgia] O'Keeffe's experiences when she was just starting out. I suspect there is a difference between being an unknown artist and being a celebrated artist. When nobody knows your work, nobody except you really cares whether or not you paint.
When I think of my version of a role model, it's not about being the perfect Samaritan; it's just being out there and being honest and happily imperfect.
I've always been comfortable being the first person at a party, metaphorically speaking - being the first person on the dance floor, saying, 'This is where it's happening, people, and if you don't think so, that's cool, but I think you're missing out.' That's my general philosophy, and it's served me pretty well.
I don't like to be dismissive of whales speaking possibilities. There is a pretty New Age-y, poorly thought set of ideas about this going around. I also think these animals benefit most from us staying out of their way. I think we learn the most by being as passive as we can, so those are my biases, and I'm sort of against it from that perspective.
I think being tortured as a virtue is a kind of antiquated sense of what it is to be an artist. It comes out of that Symbolist idea, back to Rimbaud and all that disordering of the senses and all of that being some exalted state. When I've been that way, I've always been less exalted than I would have liked.
We put out a certain energy and we are a certain type of guy. I think the way we played out there for instance, we were down with a few minutes left and instead of everybody breaking apart or being selfish, I think we just pulled together.
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